Appearances in Popular Culture
- The song was featured in a commercial for the 2003 Mitsubishi Eclipse. In the commercial, a man (Kelvin Parker) is driving the Eclipse while a woman (Dusty Paik) dances to the beat of the song in the passenger seat.
- The Eclipse commercial was in turn parodied by a skit on Chappelle's Show in which Dave Chappelle is driving a car and the woman is dancing in the passenger seat. Dave says, "What the fuck are you doing?" (due to the weird moves she is making) and then leaves her by the side of the road. He then puts on some hip-hop music and a black woman sits in the passenger seat and starts dancing. Although this is a parody of the Eclipse commercial, the car actually used in the commercial was Dave's own Nissan 350Z.
- The song is featured in the rhythm game DDRMAX2 Dance Dance Revolution.
- This song also appears in the game Dance Central for the Kinect peripheral on the Xbox 360. The routine performed is similar to the one in the music video.
Read more about this topic: Days Go By (Dirty Vegas Song)
Famous quotes containing the words popular culture, appearances, popular and/or culture:
“Like other secret lovers, many speak mockingly about popular culture to conceal their passion for it.”
—Mason Cooley (b. 1927)
“The appearances of goodness and merit often meet with a greater reward from the world than goodness and merit themselves.”
—François, Duc De La Rochefoucauld (1613–1680)
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)